A few examples of appraisal values for
PETUNIA

• ANDRE (GITTELSON) GISSON (NEW
  ANDRE (GITTELSON) GISSON (NEW YORK/CONNECTICUT/FRANCE, 1921-2003), STILL LIFE OF PETUNIAS AND OTHER FLOWERS., OIL ON CANVAS, 15.5” X 11.5". FRAMED 20.5” X 16.5”.ANDRE (GITTELSON) GISSON, New York/Connecticut/France, 1921-2003, Still life of petunias and other flowers. Signed upper right "Gisson". Dimensions: Oil on canvas, 15.5" x 11.5". Framed 20.5" x 16.5".
• Hand colored botanical engraving
  Hand colored botanical engraving from Paxton’s Magazine of Botany, English 1842, “thysanotus intricatus” and “petunia punctata”, with labels on reverse. Each 8.75” x 5.75” Overall in frame 14” x 18” Condition: very good CT Transfer Fee $10
• ( 8 PC) WALLACE "GRAND BAROQUE"
  ( 8 PC) WALLACE "GRAND BAROQUE" SERVING FLATWAREDESCRIPTION: (2pcs) Pair of Venetian Murano Glass Sconces. Features a double light design in hand blown glass with a petunia flower decoration and finishes in blue, yellow and pink. CIRCA: Mid-Late 20th Century ORIGIN: Italy DIMENSIONS: W: 13" H: 15" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• (2 PC) MURANO GLASS PETUNIA
  (2 PC) MURANO GLASS PETUNIA SCONCESDESCRIPTION: (2pcs) Pair of Venetian Murano Glass Sconces. Applique two lights in hand blown glass with a petunia flower decoration and color finishes in blue, yellow and pink. CIRCA: Mid-Late 20th Century ORIGIN: Italy DIMENSIONS: W: 13" H: 15" CONDITION: Great condition. See lot description for details on item condition. More detailed condition requests can be obtained via email (info@akibaantiques.com) or SMS (305) 333-4134. Any condition statement given, as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Akiba Antiques shall have no responsibility for any error or omission.
• CHARLES RENNIE MACKINTOSH (SCOTTISH
  CHARLES RENNIE MACKINTOSH (SCOTTISH 1868-1928) IVY SEED, WALBERSWICK pencil and watercolour, inscribed, signed and dated lower right IVY SEED/ WALBERSWICK/ 1915/ CRMMMM25.5cm x 18.2cmProvenance: Acquired after the Memorial Exhibition, 1933, by R. W. B. Morris, a partner in Charles Macdonald's legal firm and an executor of Margaret Macdonald Mackintosh's estateThe Fine Art Society, LondonPrivate Collection (1977-present)Exhibited: The Fine Art Society, London, The Flower Drawings of Charles Rennie Mackintosh, May/June 1977Literature: Billcliffe R. Charles Rennie Mackintosh and the Art of the Four, Quatro, 2017, pp.194-198 and 211-219 Billcliffe R. Mackintosh Watercolours Glasgow Art Gallery, London 1978, p. 38, no. 139Note: By 1914, Mackintosh’s professional fortunes were dwindling and life in Glasgow became unbearably oppressive. Following the completion of the Glasgow School of Art in 1909, Honeyman, Keppie & Mackintosh’s business received very little work, much like their competitors, as the city was grappling with a recession. Mackintosh resigned as partner of the firm in December 1913, supposedly with the intention of setting up his own company, yet sadly nothing came of this. Clearly requiring some rest and recuperation from this drastic turn of events, the Mackintoshes left Glasgow for a summer break to Walberswick in June 1914, but the uncertainty of the First World War and a rather unstable economic climate persuaded them to remain in the village for fifteen months.Like a number of coastal villages across the UK, Walberswick became a hub of artistic creativity in the summer months. Bright blue skies, endless coastal cliffs and colourful fields as far as the horizon brought the likes of Philip Wilson Steer, E. A. Walton and Mary Newbery Sturrock to this charming fishing and boatyard community. Mary Newbery was the daughter of Frances Newbery, Headmaster of the Glasgow School of Art at the time Mackintosh designed its new premises. The two men had formed a very close friendship during their time in Glasgow. Mary was convalescing in Walberswick while the Mackintoshes were staying in the village, close to her family’s villa there. Every day they would venture over to her studio and it is thought that Mackintosh was encouraged by the Newberys to turn to painting during this time, in his search for solace and seclusion.Over the next ten months or so, Mackintosh made over forty botanical watercolour studies using a variety of species: from wild plants such as willow catkins and kingcups to garden favourites fuchsias and petunia, as well as flowers from local fields and hedgerows such as sorrel and chicory. From 1901 Mackintosh had been sketching similar plants and flowers whilst on holiday within Britain, and further afield in Italy and Portugal. These earlier studies are more technical in composition; the background is almost completely abstract as alternating and overlapping perspectives of botanical cross-sections are illustrated. The focus of these sketches was analytical: investigating ways in which certain plant forms could be stylised to create abstract patterns on the page.At Walberswick, the studies are decorative depictions, delicately drawn in a naturalistic manner. It is likely that Mackintosh worked with pressed specimens, perhaps picked on his walks to Sturrock’s studio, giving him an already flattened section to work from. In Ivy Seed, the plant is positioned off-centre as the coloured leaves pointing towards the cartouche draw the eye into the complex structure of the branch itself. Mackintosh was clearly meticulous in his approach: connected stems and foliage are interwoven and overlaid in a beautiful display; there is a careful balance of tension, and delicacy in the delineation of the leaves. The vibrancy of colour, subtly deployed across the page, breathes life into the work and helps capture the decorative beauty of his peaceful new environment.The initials of Margaret Mackintosh appear frequently on many of these watercolours, and it was previously suggested that she contributed to the studies in some way. However, there is no stylistic evidence that correlates with Margaret’s own watercolour techniques. Mary Newbury Sturrock has stated that her initials merely indicate that she was there when the studies were made, thereby highlighting her constant presence in Charles’ life and art.Mackintosh’s time spent studying the coastline and nature in and around Walberswick subsequently led to his arrest in 1915 when he was mistaken for a German spy. After a thorough search of their home led to discoveries of their artistic endeavours in Germany and Austria, Charles and Margaret were forced to leave the area with immediate effect. They eventually settled in London, where his deeply personal connections with nature formed the basis for further watercolours and some innovative textile commissions.The spectacular series of Walberswick studies marks an interesting point in Mackintosh’s career. His intense personal and professional struggles prompted a search for solace in nature: these careful, naturalistic renderings of his surroundings are captivating in their simple beauty, evoking the serenity and contemplation he longed for.
• BLANCHE LAZZELL, (AMERICAN,
  BLANCHE LAZZELL, (AMERICAN, 1878-1956), PETUNIAS, 1938, MONOTYPE, SIGHT: 6 X 4 1/2 IN., FRAME: 18 1/4 X 15 3/4 IN.BLANCHE LAZZELL, (American, 1878-1956) Petunias, 1938, monotype titled in ink, l.l.; signed and dated Blanche Lazzell 1938 in ink, l.r. sight: 6 x 4 1/2 in., frame: 18 1/4 x 15 3/4 in. Provenance: The Collection of a Boston Gentleman. Other Notes: The early American modernist Blanche Lazzell began spending her summers in Provincetown, Massachusetts in 1915, and she eventually settled in the town permanently. She was a member of the Provincetown Printers artists'' collective, and, after learning the technique from Oliver Chaffee, was regarded as the master of the white line woodblock print. She also is noted for her experimentation with monotypes, in which she painted on a non-absorbent surface such as glass, then pressed the work onto paper. Condition:
• BLANCHE LAZZELL, (AMERICAN,
  BLANCHE LAZZELL, (AMERICAN, 1878-1956), PINK PETUNIAS, MONOTYPE, SIGHT: 8 1/2 X 6 1/2 IN., FRAME: 18 1/4 X 15 3/4 IN.BLANCHE LAZZELL, (American, 1878-1956) Pink Petunias, monotype titled in ink, l.l.; signed and dated Blanche Lazzell 194[1?] in ink, l.r. sight: 8 1/2 x 6 1/2 in., frame: 18 1/4 x 15 3/4 in. Provenance: The Collection of a Boston Gentleman. Other Notes: The early American modernist Blanche Lazzell began spending her summers in Provincetown, Massachusetts in 1915, and she eventually settled in the town permanently. She was a member of the Provincetown Printers artists' collective, and, after learning the technique from Oliver Chaffee, was regarded as the master of the white line woodblock print. She also is noted for her experimentation with monotypes, in which she painted on a non-absorbent surface such as glass, then pressed the work onto paper. Condition: Condition: Colors bright, but signature and title somewhat faded.
• MARGARET JORDAN PATTERSON,
  MARGARET JORDAN PATTERSON, (AMERICAN, 1867-1950), PETUNIAS, WOODBLOCK PRINT, IMAGE: 7 1/4 X 10 IN., FRAME: 15 1/4 X 19 1/4 IN.MARGARET JORDAN PATTERSON (American, 1867-1950) Petunias woodblock print estate stamped verso image: 7 1/4 x 10 in., frame: 15 1/4 x 19 1/4 in. woodblock print Dimensions: image: 7 1/4 x 10 in., frame: 15 1/4 x 19 1/4 in. Provenance: Provenance: The Collection of a Cape Cod, Massachusetts Couple. Exhibitions: Cahoon Museum of Art, Cotuit, Massachusetts, Margaret J. Patterson: Master of Color and Design, October 3 - November 12, 2006 (label verso). Condition: Sheet worn, creased, and folded at edges; with scattered staining, most visible at lower right corner and along left edge of image; paper separated in "v" form (approx. 1/2 in.) below right hand purple petunia.
• ROD GOEBEL, ZINNIAS AND PETUNIASRod
  ROD GOEBEL, ZINNIAS AND PETUNIASRod Goebel, (1946 - 1993) Zinnias and Petunias, oil on canvas signed lower right: Rod Goebel oil on canvas Dimensions: 28 x 30 in. (71.1 x 76.2 cm.), Frame: 34 3/4 x 36 3/4 x 2 1/4 in. (88.3 x 93.3 x 5.7 cm.) Provenance: Private Collection, Oklahoma
• BARBARA STOUGHTON (MASSACHUSETTS,
  BARBARA STOUGHTON (MASSACHUSETTS, CONTEMPORARY), "PETUNIA FORMS"., WHITE-LINE COLOR WOODBLOCK PRINT, 10.25" X 6.75" SIGHT. FRAMED 22.5" X 18.5".BARBARA STOUGHTON, Massachusetts, Contemporary, "Petunia Forms". Numbered 1/3. Signed in pencil lower right "Barbara Stoughton". Titled lower center. Dimensions: White-line color woodblock print, 10.25" x 6.75" sight. Framed 22.5" x 18.5".
• Hunt Slonem (American, b. 1951)
  Hunt Slonem (American, b. 1951) Petunias, 1998 oil on canvas signed, titled and dated (verso) 30 x 40 inches.
• JOAN MILLIGAN (NC), THE BLUE
  JOAN MILLIGAN (NC), THE BLUE VASE, ZINNIAS & PETUNIAS Oil on linen, signed at lower right, inscribed on the verso, presented in a floater frame.
• ELIZABETH JAMES, 20TH CENTURY,
  ELIZABETH JAMES, 20TH CENTURY, PETUNIAS AND CHERRIES, OIL ON BOARD, 17 X 15 INCHESElizabeth James, 20th Century, Petunias and Cherries, Oil on Board, 17 x 15 inches
• TADASHI NAKAYAMA (JAPANESE
  TADASHI NAKAYAMA (JAPANESE 1927-2014), TWO BUTTERFLIES AND TWO PETUNIAS, TWO WOODBLOCK PRINTS, FRAMEDTadashi Nakayama (Japanese 1927-2014), Two Butterflies , and Two Petunias: Two Works, Each a woodblock print in color, each signed T Nakayama, dated 1972, and 1974 in pencil l.l. and numbered 60/85 and 70/85, respectively; each apparently in good condition. Each framed.* Sight size of larger: 12 x 11 in (305 x 279 mm) Dimensions: Sight size of larger: 12 x 11 in (305 x 279 mm)
• TWO PRINTS: ONE A LITHOGRAPH
  TWO PRINTS: ONE A LITHOGRAPH STILL LIFE, PENCIL SIGNED GEORGE LAWRENCE NELSON (1887-1978) LOWER RIGHT, ED. 50, OF ROSES, PETUNIAS, A...Two prints: one a lithograph still life, pencil signed George Lawrence Nelson (1887-1978) lower right, Ed. 50, of roses, petunias, and mums in English pot, surrounded by other pieces of pictorial pottery, artist maintained a studio in Kent, CT for most of his life, ss: 10" h. x 13" w.; second, an engraving, signed lower right, 7/100, by artist and cartoonist, William Gropper (1897-1977), of angry spirits approaching standing man holding books, ss 12 1/2" h. x 16" w.; wear consistent with age, neither examined out of frame..
• ANNE POOR (AMERICAN, 1887 -
  ANNE POOR (AMERICAN, 1887 - 1970), "PETUNIAS ON BLUE GROUND" OIL ON CANVAS, ATTACHED TO CONSTRUCTED WOOD BACKING, STILL LIFE OF PINK FLOWERS ON BLUE BASE, SIGNED LOWER RIGHT, FRAMED, TWO GALLERY LABELS VERSO, ALONG WI...Anne Poor (American, 1887 - 1970), "Petunias on Blue Ground" oil on canvas, attached to constructed wood backing, still life of pink flowers on blue base, signed lower right, framed, two gallery labels verso, along with obituary, wear consistent with age including a puncture to canvas near base of flower vase, possible crease or repaired tear in blue section right of vase, ill fitting frame, ss: 11" h. x 15 1/2" w. [Anne Poor was adopted step-daughter of Henry Varnum Poor.]
• (3) Metal doorstops, c/o cast
  (3) Metal doorstops, c/o cast iron "Petunias and Daisies" basket of flowers attributed to Hubley (9-5/8" h), cast iron Boston Terrier dog (8-3/4" h), Bronzart gilt metal young girl (8-3/4" h)
• FIVE SIGNS. American, 20th century.
  FIVE SIGNS. American, 20th century. Painted "Shoe Repairs" on paper. In assembled wood frame. Tears. 27.25"h. 20"w. Cast metal "Prize every time" sign, 11.75"h. 12"w. Painted "Petunia's Beauty Salon". Framed 18.5"h. 25.5"w. Carved wood "J.O. Taylor" sign. 6.25"h. 17.25"w. Painted tin sign, 6"h. 13.25"w.
• CHINESE BLUE AND WHITE DISH Chinese
  CHINESE BLUE AND WHITE DISH Chinese blue and white dish, the interior well featuring eight peaches, the exterior displaying groups of petunia blooms, the base featuring a six-character Qianlong mark, 10.5"dia.
• GROUP OF 4 BOEHM PORCELAIN MODELS
  GROUP OF 4 BOEHM PORCELAIN MODELS Group of 4 porcelain flower models by Boehm, including Rhododendron, Spring Gentian, Petunia, and Anemone; tallest 6"H
• LOT OF THREE HUBLEY BOOKENDS Pair
  LOT OF THREE HUBLEY BOOKENDS Pair of Hubley petunia and rose vases with vibrant color variations along with Hubley roses and lilacs in white vase. 6 1/2'' h x 4 3/4'' w. (Pristine Cond.)
• PATINATED METAL AND LEADED GLASS
  PATINATED METAL AND LEADED GLASS TABLE LAMP. In a petunia motif 26'' x 19'' Condition: No Specific Condition Recorded - Sold As Is
• MARGUERITE STUBER PEARSONAmerican
  MARGUERITE STUBER PEARSONAmerican 1898-1978Petunias In Glass''. Signed lower left ''Marguerite S. Pearson''. Titled on artist's label verso.Oil on canvas board 12'' x 16''. Framed.''
• MARGUERITE STUBER PEARSONAmerican
  MARGUERITE STUBER PEARSONAmerican 1898-1978Petunias in Brass''. Signed lower right ''M.S. Pearson''. Titled on artist's label verso.Oil on canvas board 12'' x 17''. Framed.''
• Virginia B. Woolley (1884-1971
  Virginia B. Woolley (1884-1971 Laguna Beach CA) Petunias
• Corrie Parker McCallum South
  Corrie Parker McCallum South Carolina (1914-2009) TWO WORKS: PETUNIAS and SANDCASTLE lithographs framed signed: lower margin sight size: H6 3/4'' W13 1/8'' and H11 1/4'' W14 1/2'' (2pcs) Provenance: Purchased from the artist in 1976. Upstate New York private collection. Other Notes: PETUNIAS: bearing artist's inscription ''unique proof'' in lower margin under matte. SANDCASTLE: numbered 4/20 in lower margin. Back    Inquiry      Previous Item   Next Item © Charlton Hall Auctions.  Images descriptions and condition reports used on this site are original copyright material and are not to be reproduced without permission. For further information telephone 803.779.5678     © 2012 CHARLTON HALL GALLERIES INC.
• Coca-Cola Petunia Festoon. 1939.
  Coca-Cola Petunia Festoon. 1939. Framed under plexiglass. A few mild to medium stains, a few small paper chips and nicks with nail holes, light edge wear, and minor overall wear. Condition (Very Good). Size Framed: 96 - 1/4" x 24 - 1/2".
• 3 vols. Children's Books: Leaf,
  3 vols. Children's Books: Leaf, Munro. Wee Gillis. New York: Viking, 1938. 1st ed. Illus. by Robert Lawson, 1/525 signed by Leaf & Lawson. 4to, orig. burlap, paper labels; light to moderate wear. Lacking slipcase. * Duvoisin, Roger. Petunia. New York: Knopf, (1950). 1st ed. 4to, orig. pictorial orange bds.; some edge wear, d/j (foot of spine chipped, other occasional edge wear). Color & b/w illus. by Duvoisin. The 1st Petunia book. * (Williams, Garth, illustrator.) Selden, George. Chester Cricket's Pigeon Ride. New York: Farrar, Strauss, Giroux, (1981). 1st ed. 4to, orig. blue cloth; light edge wear, d/j (large chip to back panel, other occasional edge wear).